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Pedro is known for elaborate melodies and unexpected lyrics. He bridges traditional and modern trends in his compositions, ranging from
northeastern roots to samba and beyond. In this album, ClaroEscuro,
Pedro explores his musical universe from xote to tango and everything
inbetween. The arrangements add less popular music instruments, such as
the oboe, to Brazilian standards such as the viola. The musicians in
ClaroEscuro are also very diverse and include Pedro Moraes himself
(guitars), José Izquierdo (percussion), Ricardo Sá Reston (bass),
Franklin da Flauta (flutes), Gabriel Geszli (piano), Thiago Amud
(acoustic guitar), Thiago Neves (oboe), Euler Santos (bassoon) and many
others.

With remarkable ease, Pedro switches from a xote, as in the opener "Xote
de Manhã," to a bouncy samba in "Samblefe" or the Cuban-flavored samba
mix in "Marcela." Of course, nothing is quite black or white, light or
dark, as the album title suggests. Even though we hear a xote, there is
also a complex harmony reminiscent of the earlier works of Milton
Nascimento's Clube da Esquina style. Then we have "O Sonho de
Antonieta," which Pedro explains as a melancholic toada that was
transformed by Marcelo Caldi's arrangement and accordion into a tribute
to Argentinean master Astor Piazzola. The result is intriguing to say
the least.

Pedro's music is never boring. He surprises the listener at every
minute. From forró in "Receita de Canção," he jumps to a most soothing
piano serenade in "Fina Flor" and then back to a Bossa Nova in "Samba de
Quarta-Feira," with a lovely guitar accompaniment by Thiago Amud in
tribute to João Gilberto.

Nothing probably defines Pedro Moraes' ClaroEscuro more than his own
words in the liner notes: "Contrition and carnival. Extasy and absence.
Life beyond halfways." ClaroEscuro goes beyond the comfortable limits of
Brazilian music and does that well. It's a creative album full or
surprises.